[toc=”2,3,4″ title=”Sections”]
How does a country encourage its creative producers to innovate media projects & services? Many leave it to commercial forces only, where it is an innovate or die, sales driven culture. Some though with small or fledgling production communities have to rely on government subsidy and kick-start funding to get most ‘innovative’ projects off the ground. I have looked and been involved in the latter for many years as Multi-Platform producer devising initiatives, director of training units and lecturer in education sectors which include several European countries, Canada, Australia, UK and US. How can we better divvy up millions of tax payers dollars and spread it between heritage and multi-platform?
Below are a few excerpts of a longer article/paper & book chapter (full of juicy stats & facts!) on public tax payers funding of global multi-platform media projects from a perspective of âare we giving it a ‘fair-go’â – as they say down under. It is focused on all government creative funding agencies who help divide up ‘new and old’ screen culture funds in their respective countries. Its intention is to help multi-platform (as opposed to the vagary ‘digital’) move forward rather than be held back by analog thinking or status quo market approaches. I will PDF and link later…
As some of this sails close to one or two of my ‘day jobs’ (some of my credentials in this area are listed at the bottom of the post) I have kept it as generic as possible, without any intentional finger pointing. I hope some top level ideas I suggest to help fix something that has been broken for decades, may not fall on deaf ears.
Preface – Traditional Media vs Multi-Platform: Where’s the engagement?
To choose an excerpt or ‘why multi-platform’ this old argument about the old vs the new is appropriate here. There are many who say we are in a golden era of TV and Film. Audiences both love and trust these mediums and growth is strong across the board. So naturally “we must find and fund new talent and projects in these areas for the good of our culture”. Telling stories through film, tv, galleries, concert halls and books is the only real media to take into consideration. Or is it? This is the status quo, most public funds for media are for localised film and TV and ‘culturally’ significant ‘art’ projects. The ‘other stuff’ oft called multi-platform or digital or online is still not taken seriously. I suggest it still does not reflect what and how its people are consuming media and how they are engaged in that usage.
To give a sense of this disparity, for example in Australia last years total spend (note this includes commercial investment) on film was USÂ $336mill yet overall funds for ‘multi-platform’ creative projects across all public agencies amounted to approx $12-15mill – with the largest funder in the space Screen Australia about to provide approx $4mill annually for creative multi-platform. If we also add TV funding into the mix and think of other territories also (UK film spend US $1.48 bill) we can get to an estimate ratio of around 9:1 of traditional media funding vs multi-platform. Note this is about creative âstory-centricâ projects vs digital business or hardware enterprise. That means around 9 times more is publicly granted/invested in Film & TV than Multi-Platform or itâs storytelling child, transmedia. I am still adding up figures from other regions which may alter that slightly and although I would like to, don’t get me started on the balance spent on training and education across these two sectors!
As I presented in my last post/article (Navigating the World of Multi-Platform) the media landscape has now significantly fragmented from the 1970-90s yet those in control of the ‘funding’ & educational mechanisms are, I would suggest, still basing decision from those days by funding what is effectively just ‘linear video stories’ – vs more interactive across multiple media channels. Sure there are a lot of statistics that on the surface back this up – for example, TV viewing has remained static and even growing regardless of the increase of  video watching on the web or games usage and box office is strong even with illegal digital distribution and on and on. But when you look at some sectors, print and music for example, who themselves were saying ‘business as usual’ 2 years ago, it tells a completely different story purely from a sales perspective – due to online distribution (eBooks & mp3 torrents) traditional sales are falling at between 10-30% annually.
Continue reading »
